A Chat With Luis Muñoz
Interview by Paula Edelstein
Luis Muñoz, composer, arranger and percussionist, was born in San José, Costa Rica. Coming from a very musical family, Luis showed an early interest in the arts and spent his youth performing in Rock and Jazz groups. In 1972 Luis entered the University of Costa Rica where he studied both Architecture and Music. He studied privately at the National Music Conservatory and with the principal flutist of the National Symphony Orchestra. In 1974 Luis emigrated to the United States and there completed his Degree in Music Composition at the University of California, Santa Barbara, under the tutelage of renown British composer Peter Fricker. For the last 30 years Luis Muñoz has written music for educational and sports documentaries, animation films, radio and television jingles, dance and theater. In addition, Muñoz has worked as a music producer and arranger, as well as a percussionist for numerous artists such as Airto Moreira, Etta James, Flora Purím and Jim Messina.
Luis Muñoz has made numerous recordings of his music throughout the years. In 1980, commissioned by the Costa Rican government, Muñoz wrote and recorded COSTA RICA-COSTA RICA. Luis donated all the proceeds generated by the sales of that recording to the Red Cross in Nicaragua, a nation at the time desperately trying to heal itself from the effects of a devastating civil war. In 1988 he signed with CBS Records and recorded LA VERDAD. In 1996, Fahrenheit Records THE FRUIT OF EDEN, Co-produced by Dominic Camardella (who has helmed projects for Maynard Ferguson, Ottmar Liebert and Willie and Lobo), marked Muñoz's U. S. recording debut, an explosive introduction to a talent that had been wowing Latin America for years. In 1998, Muñoz brought listeners a more progressive and exotic expression on his next endeavor, COMPASSION, continuing to evolve as an innovative force in instrumental music.
Muñoz's new recording VIDA includes special guests Jonathan Dane and Adolfo Acosta (Tower of Power) on trumpets, Randy Tico (Airto Moreira) on electric bass, world renown classical bassist Nico Abondolo, Brian Mann (Larry Carlton) on accordion, Kevin Winard (Sergio Méndez) on percussion, Ron Kalina (Linda Ronstadt) on chromatic harmonica and Charlie Bisharat (Strunz & Farah) on violin. The release will be followed by a 2004 tour.
SOTJ: Luis, it’s been a long time since we spoke last. I believe it was during your debut as a leader with COMPASSION! Now, you’ve topped yourself with another stellar offering of passionate, new music. Let’s talk about the history of the project. It seems as if this was quite a few years in the making, correct?
LUIS: Hi Paula, first of all, I would like to thank you for listening! Yes, I believe the last time we spoke was in March of 2000, a year after the release of my "Compassion" CD (my debut recording as a leader in the United States was 1996’s "The Fruit of Eden"). I am so glad you enjoyed "Vida". It is by far my most satisfying musical project ever, and the closest to my heart.
It was around the time we last spoke, that I parted ways with my previous record label, Fahrenheit. I had started writing new material for another CD, and was thinking about going back full circle, to Costa Rica where I come from, and record with friends over there. I went ahead and contacted whom I considered to be the greatest musicians in the country: the trio Editus and the "Sexteto de Jazz Latino," both multiple Grammy award winners, as members of Panamanian singer Ruben Blades’ group. I got together with them several times, in Los Angeles and in Costa Rica. Let me tell you that I come from a small family. My father had seventeen brothers and sisters, but I had only one brother, Julio. He was always a very close companion in all my musical explorations. He had been sick for a long time with a very rare neurological terminal disease called Shy Dragger’s Syndrome. Just when I was done writing all the music for the new CD, and was getting ready to record it, things got much worse: my brother was dying and at the same time I found out my wife needed open heart surgery. Those were difficult times to say the least, but at the same time, they made me see life differently. I became more "in the moment", more compassionate and forgiving perhaps, more aware of my own mortality (although life had already sent a clear message my way about it, when I had to have open heart surgery myself at age six). Some time went by. My wife got much better after surgery. My brother passed away and after his death, I went ahead and scratched all the material previously written, and started writing new music, with him in mind. With a strong sense of mortality still fresh in my soul, and with a new and intense love for life, I finished writing 10 new pieces. Four years went by from the time I started planning the new project until the time I was done with it. The result is "Vida." Needless to say, it is music about life and about death.
SOTJ: In our opinion, VIDA represents your true essence, and reflects your careful nurturing and musical growth as a performer, composer and arranger. How would YOU compare this new music to the music heard on THE FRUIT OF EDEN and COMPASSION?
LUIS: I would like to think that with each new project, I grow and get better: better as a composer, producer and arranger, better as a percussionist, better as a person. Each CD represents where you are as an artist and as an individual at the time the music is created. I am very different now from the person I was 8 or 10 years ago, when "The Fruit of Eden" was recorded. For me it is very important to be in touch with myself, with my emotions in order to write. To know my place in the universe, and to have a good round perspective of that universe I inhabit. More than ever, I felt that I achieve that during the making of this project. Of course, there are also those elements that define who you are, that are present in all your music, past and present, giving it a sense of unity and continuity: style, esthetics and the concept of tradition as your musical starting point, your spiritual framework, your intellectual and emotional basis from which all begins to take shape.
SOTJ: I’ve noticed that you dedicated VIDA to the memory of your brother Julio Munoz who passed away at a young age and have written a song titled “Between Birth and Dying.” When composing the song, did the compelling beauty of his consciousness come through as an inspirational visit?
LUIS: My brother’s spirit was present throughout the process. Sometimes, in a moment of artistic doubt, or if we were having trouble with a certain piece, I would evoke his soul for help, but in general, I believe his presence manifested itself through a sense of warmth, clarity, comfort and strength within me.
SOTJ: On that particular song you play piano alongside the great Charlie Bisharat on violin, Brian Mann on accordion and Andrew Smith on cello in what has to be the centerpiece of this astounding recording. What were some of the challenges in assembling these great musicians all in one place?
LUIS: The title of that song was inspired by a line from a poem by the American writer T. S. Eliot. That line eventually became the central concept for the CD: "The Dreamcrossed Twilight Between Birth and Dying." I put a lot of thought into the orchestration of each composition, and tried to find among my musician friends, who I thought was perfect for each part: Charlie Bisharat (Strunz & Farah) on violin, Ron Kalina (Linda Ronstadt), on chromatic Harmonica, classical bassist Nico Abondolo, Brian Mann (Larry Carlton) on accordion, Kevin Winard (Sergio Mendez) on percussion and electric bassist Randy Tico (Airto), are some of the many wonderful musicians present in this recording. I must say, it was pure joy working with every one of them. They were all eager to help and give 110 % to the project. Thank you guys!
SOTJ: In designing the music for VIDA, you experiment with different colors, different textures, and tempos. On “Myth and Resurrection” this pure percussive piece is wrapped in the essence of Afro-Cuban brass lines and a spirited free jazz solo from Tom Buckner on soprano sax. This song is extremely spiritual. If you were teaching a class on musical interpretation, what would you ask your students to listen for?
LUIS: It is important to approach music without any preconceptions, to come to it completely open to all new possibilities and to never, ever censure yourself artistically or otherwise. I wanted soul and intensity in that soprano sax solo. I gave Tom two names as role models: Wayne Shorter and Coltrane. We did not get either one of them of course, but instead we got Tom Buckner at his very best, and that was just what I needed. I would pinpoint those influences to the students, along with the bembe 6/8 feel of the groove, played by the bata drums, bells and shekere. The written unison soli of the tama drums (talking drums). Orchestration wise, I would mention the use of a fairly uncommon instrument combination, bass clarinet and pedal steel guitar, in the middle section, to create some kind of mysterious, dark sound, just before the clarity of the soprano sax takes over. The horn lines beautifully played by Adolfo Acosta from the band Tower of Power, added punch and strength to that arrangement.
SOTJ: A great vocal piece titled “Pasion” resides alongside these great instrumentals. Ms. Jana Anderson’s cool Brazilian jazz is a quite soothing. What is “Pasion” about?
LUIS: "Pasión" has an interesting story. I had recorded an instrumental version of it in my previous CD "Compassion," but for the longest time I wanted to do a vocal version. I do not feel comfortable writing lyrics, so I started contacting poets and songwriters I admire, to see if someone would be interested in writing words. I sent Romulo Castro, whom I have never met in person, an e-mail. He is a Panamanian singer/songwriter, who has also won several Grammies with Ruben Blades. They collaborated in Ruben’s last three CDs: LA ROSA DE LOS VIENTOS, TIEMPOS and MUNDO. Long story short, he liked my music and a few months later he sent me the beautiful poem that became the lyrics to "Pasión." Romulo also recorded a version of the song in Europe, and included it in his new CD TRAVESÍAS. My version is actually sung beautifully by Teka Pentiriche, a singer from Brazil. Ms. Jana Anderson, who tours with Don Henley and Fleetwood Mac among others, did the background vocals.
SOTJ: Many of your listeners associate you as a drummer and percussionist, but you also give a compelling performance on piano on several songs. Do you prefer one instrument to the other?
LUIS: I have a degree in music composition from U.C. Santa Barbara, where I took piano lessons for four years. I know the keyboard well enough to use it as my main writing tool, but that’s about it. I consider myself a composer and an arranger first, and a percussionist second. The piano for me is just a necessity of the trade. I would never embarrass myself playing it in front of a live audience. Ha Ha!
SOTJ: As you know, the Sounds of Timeless Jazz.com gets a lot of exposure around the world and many students buy the music and try to teach themselves from what they hear. Especially in countries where your music is not heard often. What is a caxixi? A Guira? How would a student identify these percussive instruments if they were attempting to learn it by isolating its sound on a percussive track?
LUIS: Fortunately, with the Internet and such, we live in a time where it is not difficult to have access to all kinds of information. Web sites, CDs, educational videos, etc. I grew up in Costa Rica. Then, it was practically impossible to find out who was doing what in Mali, Brazil, or Morocco, or what was the difference between a güiro and a güira, or a caxixi and a maraca. Now, the information is all there. I think it is extremely important to study tradition, the roots. The way I see it, tradition is the starting point, the foundation, the seed. The same rule applies to all students, beginners and advanced ones. Once you become familiar with the roots, you then expand your vision and study more contemporary approaches, but the knowledge of the past is essential for everyone.
SOTJ: VIDA is splendid! Will you be appearing in concert in support of your new CD? If so, where can we find your schedule?
LUIS: Thank you very much Paula! Just now I am starting to put together some gigs in the United States. Also, I’ve been invited to play in October in Costa Rica, at the "Teatro Nacional," a beautiful Opera House built in 1897, and then we’ll be back there in November, as part of the International Festival of the Arts. We will have a full schedule posted on my official web site: www.luismunoz.net, where VIDA can be purchased, along with all my other recordings.
Thanks again for everything Paula! ¡Un abrazo!
SOTJ: You’re so welcome. Thank you.